Paul Wallfisch: Yes – you never know how long they’re gonna last. You can get them at the bar at the Delancey after 5 PM on any day, or at Other Music [15 E 4th St. just west of Lafayette]-, or ticketweb, (866) 468-7619. Seven bands, plus free beer from 7 to 8, plus an extra show, for $20. Music starts right away at 6:30, and after the show with a ticket you get free admission to the afterparty at the Delancey at midnight with the debut performance of Hallelujah, who are a 50/50 mixture of the Fever and the Flesh. Other Music – let’s hear it for Other Music! – is giving $3 off cds by all the Big Small Beast artists through May 21, plus the first two people who buy a pair of Big Small Beast tickets at other music get a free copy of the new Botanica cd Who You Are.

LCC: Is there a theme to the night or is this basically just an unusually good multiple-band bill?

PW: The theme is the eclecticism of what makes New York great. The artists range in age from twenties to fifties, but all produce unique music – dance, electronica, rock, instrumental, art-song. Most bills try to be as homogenous as possible. And many bands seeems to be more concerned with finding a retro musical niche to conveniently pilfer. That’s not the case here. And despite the incredible diversity of sounds, there’s at least a tenuous personal connection running through the entire lineup. Besides that, in curating the Small Beast at the Delancey on Monday nights and this Big Beast, I always try to get away from a focus on the singer-songwriter strumming the guitar. So that’s a theme – as little of that shit as possible. And the irony would be embedded in the intelligent lyrics and not the posturing of the performers. We’ve got that here too.

LCC: As someone who, other than putting together the weekly Small Beast show, is a working musician rather than a promoter, give us your perspective of the acts on the bill.

PW: In lieu of a dj, Lapis Lazuli will serenade the crowd as they enter. That’s Kurt Wolf – Pussy Galore, Boss Hog and Foetus are his pedigree. Go to lapislazulimusic.com to see one of the kick-ass best music websites ever! He’ll offer us between-act soundscapes as well. Spottiswoode is next, then Services.

LCC: Services used to be Flux Information Sciences, right?

PW: That’s correct. Trztn, from Services co-wrote and produced two songs that Karen O sang in Where the Wild Things Are. Then Barbez are going to play, then I’ll be playing with Little Annie…

LCC: The two of you have a new album, Genderful, just out, is that right?

PW: Yes, in fact this is the cd release for Genderful, the first day it will be available. It came out in the UK about a week ago. Andrew W.K. appears on it; Martin Wenk from Calexico also plays trumpet on one song as well as doing the same on Botanica’s new album. It’s also the cd release show for Botanica’s new album Who You Are, which will be available on limited edition white vinyl – it’s available at all the usual places like itunes and amazon.com but this will be Botanica’s first US release, stateside, in ten years, believe it or not. The official release date is May 25; you can pre-order it now.

LCC: Bee and Flower are playing after Little Annie, they haven’t played a US show in ages.

PW: This will be the only US show by Bee and Flower this year – their only 2009 show was at the Small Beast. In fact, this is the original B&F lineup, plus I’ll be playing keyboards, plus Danny Tunick from Barbez on drums. Black Sea Hotel will serenade the audience from the balcony before and after.

LCC: I really enjoy Black Sea Hotel’s otherworldly Balkan vocal music, but I don’t know the headliners, what can you tell us about them?

PW: Savoir Adore are a couple from Brooklyn, signed to the same label as MGMT. They sold out the Mercury last time they played there. They have a certain Stereolab quality, a pleasant chamberpoppy thing – but not like Vampire Weekend at all. Miles just made two really good records, he’s the youngest guy on the bill and the most oldfashioned fella of all of them. He has something of that plaintive yet thick sound that Black Heart Procession can muster at their finest, and also a Velvets thing, but more like their soul-informed moments. But really doesn’t sound like any of that – primarily due to his unique voice.

LCC: I’m amazed by the sheer number of good bands on the bill. Is everybody going to play a short set a la the Rollling Stones Revue, 1964?

PW: We have a soundscape by Lapis Lazuli, 45 minutes apiece from two headliners, about a half hour for everybody else, short sets from Services and Spottiswoode. The music and bar stops at 11:30: the Delancey is just around the corner, everybody’s invited to the afterparty there.

LCC: Why the Angel Orensanz Foundation? Do you really think that a crowd who’re used to old warehouse spaces and dingy former bodega basements will appreciate the old-world haunted-mansion beauty of this converted synagogue?

PW: No disrespect to, say, Cake Shop or Lit Lounge, but there’s such an element of struggle for bands, with little reward, that I thought it would be great to put on a “local” show in the best local venue possible, a venue we can all be excited about inhabiting for a few hours. Visually and sonically, the Angel Orensanz Foundation is such a spectacular place. We all settle for less so often that I think the beauty of the venue alone will inspire audience and artists to come together for a particularly special night. The venue, being one of the last examples standing of the hundreds of Lower East Side synagogues, is a great place to celebrate a night of timeless New York music. I’m an atheist, but the institution of religion has given us a lot of beauty over the ages.

LCC: Is this show, the Big Beast, the logical extreme to which the Small Beast can be taken? Or do you envision a Beaststock or Beastaroo at some point? Beast on the River? Beastsplash?

PW: Lollapabeasta! I can’t believe I’ve become an impresario. There will be a monthly Small Beast Germany for nine months while I’m over there – and maybe a one-off Small Beast in select cities – Paris, Berlin, London, Istanbul, possibly. Attractive as it is, it’s killing me. I’m being devoured by my own beast, I feel like Dr. Frankenstein, I’m being swallowed whole by my own Beast! Although I do derive a lot of pleasure from the evenings.

LCC: What reality tv stars will be there? What do we tell all the Lindsay Lohan wannabes out there who’re debating whether or not to get a ticket to the show because they don’t know if they’ll be able to tweet about all the celebrities they brushed elbows with on the way out of the bathroom?

PW: I like Lindsay Lohan! People have told me that celebrities come to the Small Beast. I wouldn’t know. I never recognize anybody.

About

Welcome to Lucid Culture, a New York-based music blog active since 2007. You can scroll down for a brief history and explanation of what we do here. To help you get around this site, here are some links which will take you quickly to our most popular features:

If you’re wondering where all the rock music coverage here went, it’s moved to our sister blog New York Music Daily.

April, 2007 – Lucid Culture debuts as the online version of a somewhat notorious New York music and politics e-zine. After a brief flirtation with blogging about global politics, we begin covering the dark fringes of the New York rock scene that the indie rock blogosphere and the corporate media find too frightening, too smart or too unfashionable. “Great music that’s not trendy” becomes our mantra.

2008-2009 – jazz, classical and world music become an integral part of coverage here. Our 666 Best Songs of All Time list becomes a hit, as do our year-end lists for best songs, best albums and best New York area concerts.

2011 – one of Lucid Culture’s founding members creates New York Music Daily, a blog dedicated primarily to rock music coverage from a transgressive, oldschool New York point of view, with Lucid Culture continuing to cover music that’s typically more lucid and cultured.

2012-13 – Lucid Culture eases into its current role as New York Music Daily’s jazz and classical annex.